| In The Locked Room Opéra Schott
Taking Thomas Hardy's short story as its starting point, we are transported to t...(+)
Taking Thomas Hardy's short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person's actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur.Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely.Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan.As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world. / Opéra
81.50 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Judith Weir: The Black
Spider: Opera: Vocal
Score Opéra [Partition] Novello & Co Ltd.
Judith Weir’s work is often inspired by narrative folklore and theatre. ...(+)
Judith Weir’s work is often inspired by narrative folklore and theatre. This creepy-crawly work was inspired by the novel Die Schwarze Spinne by Jeremias Gotthelf a tale about an evil venomous spider including heartless Count heroic village maiden and a truly otherworldly Green Huntsman and a 1983 news story about the mysterious deaths of the archaeologists who opened the tomb of Casimir IV in Krakow in the 1970’s. There are spoken parts bridging the two stories.Weir employs many musical languages in this alternately boisterous and sinister work: patter songs church hymns recitativo among them. Weir is not at all precious about voicing recommending that allthe roles be sung at any convenient octave Altos substituting for basses at the octave if a children’s Chorus is performing the work. The one-act structure works well for young performers.Judith Weir is one of Britain’s most prolific and successful composers widely known for her operas like The Vanishing Bridegroom and A Night At The Chinese Opera and her many Choral works as well as her pieces for Strings and Piano. She was Artistic Director of the Spitalfields Festival and is a professor at Cardiff University.
13.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Richard Wagner:
Tannhauser Urtext: Opera:
Miniature Score Opéra Eulenburg
Numerous revisions and adaptations are entangled in the complex history of the w...(+)
Numerous revisions and adaptations are entangled in the complex history of the work 'Tannhäuser'. After the world premiere in Dresden in 1845 had failed to be well received by the audience Wagner revised large parts of the opera several times in the following decades. The most comprehensive changes were made for the Paris performance in March 1861 but even after that he made further revisions which superseded some of the previous changes and were performed in Vienna in 1875 among others.The study score is based on the version of 1875 which has misleadingly been published as the 'Paris version' until today and has actually to be referred to as 'Viennese version'. Themusical text is identical to that of the critical edition within the Wagner Complete Edition with the errata discovered since then having been corrected.
72.50 GBP - vendu par Musicroom GB | |
| Scipione Affricano
(CAVALLI FRANCESCO) Opéra Barenreiter
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...(+)
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
753.50 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Lessons In Love And
Violence (BENJAMIN
GEORGE) Opéra [Conducteur] Faber Music Limited
Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and ...(+)
Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and Violence delves into the dark and turbulent events of Edward II's life and death. George Benjamin and Martin Crimp's third collaboration, it unfolds as a taut slow burning arch of seven tableaux. This work boasts particularly rich string textures, and is coloured by basset horn and cimbalom together with a pair of harps, celesta, and percussion (including talking drums and tombak). Several of the opera's powerful interludes are dominated by braying, sardonic brass - with tuba substituted by the more menacing contrabass trombone. There is also much spectacular ensemble writing: in Scene Three's play within a play, several strands of independent music collide, and the result is perhaps one of the most complex musical structures Benjamin has ever tackled. The music's relationship to the drama is often unstable and seemingly very spontaneous, but beneath it all one senses a rigorous architecture, unflinchingly guiding the listener deeper and deeper into the opera's disquieting emotional world. This full score is a perfect accompaniment to the previously published vocal score and text. / Musique contemporaine / Répertoire / Opéra
154.00 EUR - vendu par LMI-partitions Délais: Sur commande | |
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